Ceramic art pieces in the “Interconnected” exhibit at the St Louis Community College, Part 1: teapots

Photos and reporting by Robert Kokenyesi, Ceramic Artist, Beachfront Pottery, Godfrey, IL, 62035, USA.  If you enjoyed this post, then give me a “like” on my Facebook page.      There is additional information about Beachfront Pottery on my web site.

The Venue

 

 

The “Interconnected” exhibit took place from February 21 through March 15, 2019 in the Meramec Contemporary Art Gallery on the Meramec Campus oft he St Louis Community College.

On the left is the entrance to the building housing the gallery

 

 

 

 

This is the hallway leading to the Meramec Contemporary Art Gallery.  The entrance is at the very far end of this photo.

 

 

 

 

The Call for Entry

The exhibit was subtitled: An Invitational Exhibition of Compound Ceramic Forms.  There was no call for entry, as this was an invitational exhibit.  On the exhibit postcard there was the following statement: “Many contemporary ceramic artists use modules or components to make a larger statement about containers or ideas related to containment. Join us for this invitational exhibit featuring the work of 17 national artists who work with these ideas.”

The Ceramic Art Pieces

This post shows theteapots from the exhibit. The post part 2 is about the wall pieces, and the post part 3 is about sculptural pieces.

“Rock/Stick/TPot #2” by Matt West
“Rock/Stick/TPot #1” by Matt West

I couldn’t find a  dedicated internet presence for Matt.  In a 2016 interview he states: “I aspire to craft my teapots with an invitation to touch, for human contact, for something to hold on to, for contemplation, as well as celebration.  I search out contrasts in viewpoints of human qualities: hard to hold versus comforting; aggressive versus serene; intimate versus elusive.  My teapots speak of challenges, duality, tension, and uncertainty, as does life itself.”

To me these are very un-teapot forms, so I find them intriguing.  Even the naming of the pieces suggest that desire to be different.

 

“Constructed Teapot #1” by Eric Hoefer
“Constructed Teapot #2” by Eric Hoefer

On his web site Eric states: “Clay is a uniquely intimate material that allows one to create through the act of touch. Its infinite possibility of abstraction and expression is inspiring. Historical ceramic iconography, modern painting, sculpture and contemporary design all merge together and inform my work.  The application of stripes, Polk-a-dots and linear and nonlinear graphic imagery at once unifies and fragments the form. At times this combination of form and surface can echo historical artistic movements such as Op-Art, Cubism, Pop-Art and Modernism culminating in Post-Modern statement.”  These teapots were about 12 inches tall, making a very strong presence.

 

“Tile Teapot #3” by Matthew Isaacson

On his web site Matthew states: “Like a child playing with Legos or Lincoln Logs, I am fascinated by the endless possibilities of stacking and building. Considering the material of manufactured porcelain or glass tile, I repurpose its industrial function to a simple building block. The concept of multiplicity inspires me to explore boundaries of gravity as the vertical forms spiral, creating futuristic cityscapes and architecture. ”  This teapot was about 8X8 inches in size. The individual tiles were a little larger than a business card.

 

 

“Chicago Water Tower Teapot” by Dan Anderson

I couldn’t find a dedicated web site for Dan.  On an art project site his description reads: ” He uses stoneware and porcelain to create both wheel-thrown and hand-built functional vessels often in the form of mid-twentieth-century oilcans and small-scale sculptural pieces referencing classic vessel forms. When grouped together, these various forms reflect his interest in the architecture of farm buildings; the teapot represents the central building and sugar bowl and cup represent various outbuildings. He achieves a muted and weathered surface on his brightly glazed vessels by wood firing, sometimes adding soda to the firing. This technique adds depth to the surface of his more sculptural works and links directly to the appearance of decaying Midwestern buildings. He uses both gas and wood-fired kilns to create different effects. His experimentation with post-firing techniques includes adding decals and then sandblasting the piece to create the weathered appearance he favors.”

 

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